Rum Thief – Time to Make a Move

It has taken a couple of years for Rum Thief to follow up the acclaimed Reach For The Weather Man EP but the wait has been worthwhile as he releases his finest moment yet with Time to Make a Move. The new EP is a richer and broader adventure of sound and word without losing the instinctive energy and raw passion of its predecessors and a wake-up call to major attention.

Rum thief is the solo project of Manchester based musician/songwriter Jot Green, who previously played drums for over a decade in various bands before deciding to explore his own songwriting and imagination. Debut EP Clouded Mind quickly drew ears and praise in 2014 though it was Reach For The Weather Man a year later which truly sparked acclaim and interest the way of the project. The years around and since have established Rum Thief as a just as flavoursome live presence with guitarist Kieran Whitehouse, bassist Gary Long, and drummer Chris Hobbs alongside but it is through Time to Make a Move that you get a feeling everything is going to ignite for and around the band.

Recorded with producer Shuta Shinoda at the legendary Hackney Road Studio, Time To Make A Move opens up with the outstanding Spittin’ Daggers. A single melodic jangle beckons ears initially, its potent coaxing soon joined by the throb of bass and swing of beats, all settling into a tempting stroll as Green’s expressive tones and descriptive lyrics join the appealing mix. It is a lively simmer soon boiling over in a fiery chorus as aggressive as it is infectious. Like a mix of Arctic Monkeys and Fatima Mansions, the song prowls and roars; its feisty rock ‘n’ roll a web of instinctive catchiness, melodic fire, and dramatic heart spawned suggestion.

The thrilling start is followed by the milder flirtation of the EP’s title track; a mellower proposal soon revealing its own strength in tenacious seduction and captivating enterprise. Its heart is also a lively fusion of instinct and imagination, a new wave/indie rock weave becoming more boisterous and volatile with every passing second. There is something familiar about its character but an indefinable quality which just adds to two and a half minutes of pure pleasure.

What Do You Know is next, its raw air and melodic teasing a fusion of pop from the past few decades, being almost Joe Jackson like in its organic contagion of rousing pop ‘n’ roll. With as many hooks in voice as in sound and again razor sharp lyrically without a sniff of indulgence, the song simply captivates before being matched in potency by closing song Toilet Door. With a rockabilly scent to its voice and shuffle, the track at times reminding of The Shaking Pyramids, the song croons and seduces like a smouldering fire; transfixing from the start and bursting into bigger flames over time as its union of sixties/modern pop catches alight.

It is a strong end to a quickly and increasingly beguiling encounter. At the time, it was hard to imagine Reach For The Weather Man being majorly outshone by future offerings from Rum Thief but Time to Make a Move leaves it well in its wake which is why expectations are rising of seeing Rum Thief become something close to a household name.

Time to Make a Move is out now.

http://www.facebook.com/rumthief    http://www.twitter.com/rumthief

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Ghosts of Social Networks – Outside The Wheel

From impressing with their debut AA-sided single Love Potion/ Mockingbirds last year, UK band Ghosts of Social Networks has gone from strength to strength in writing, sound, and attention. Earlier this year, No Going Back left its predecessor and the band’s second single Comeback Kid in the shade, a feat replicated now by Outside The Wheel, easily the outfit’s finest moment to date.

Created by and based around the craft and music of Manchester based Nathan Till, Ghosts of Social Networks create musical and emotional drama within their songs and no more striking than the suggestive theatre shaping Outside the Wheel. Again a song produced by Gavin Monaghan (Editors, Robert Plant, The Sherlocks), the new single winds a spicy groove around ears first, it’s tempting persona soon backed by tenaciously prowling rhythms the warm and expressive vocals of Till. At the same time, a haunting air rises and flows across the song, bringing a sense of The Mission to the brooding, politically charged encounter.

Building crescendos which erupt into a fiery chorus soaked in its own espionage of drama and creatively flirtatious escapades, moments with a touch of Bond to them; the song simply ignites ears and imagination not forgetting real pleasure.

There are some songs which leave a lingering mark on thoughts and emotions; Outside The Wheel one of them leaving Till and Ghosts of Social Networks a real task to match its majesty next time around.

Outside The Wheel is available now through Integrity Records.

http://www.ghostsofsocialnetworks.com/    https://www.facebook.com/GhostsOfSocialNetworks    https://twitter.com/GOSNmusic

Pete RingMaster 19/04/2017

Copyright RingMaster: MyFreeCopyright

Little Lapin – Wake Up With The Sun

There are many obvious things which are evidence of being in the throes of a seductive summer, most you will need no reminding of but there is something else which equally has emotions wrapped up in the beauty of its warmth and that is a new release from British singer-songwriter Little Lapin. Just short of two years ago, the Cornwall based songstress entranced and impressed with debut album Remember The Highs, repeating the event a year later with its even more striking successor Holding Out For The Kicks. Their collection of heart bred, spirit stroking songs firmly imprinted their creator on the indie folk/ alt country scene. Now third album, Wake Up With The Sun, is a day or so away from living up to its title and sparking a new melodic summer for the senses and imagination to bask in.

Quite simply Wake Up With The Sun puts its predecessors in the shade; easily eclipsing both impressing releases as Little Lapin’s (Lucy Hill) reveals her most potent, accomplished, and creatively imaginative and elegant songs yet. She is no stranger to acclaim, those releases and surrounding singles as well as her live performances drawing eager praise and attention. From radio shows to the scribbles of music blogs and magazines, plaudits have gathered as too a worldwide fan base through her shows and tours across Britain and New Zealand as well as New York. Wake Up With The Sun is also the call to the rest of the world to take notice with its season of melodic seduction.

Initially and no doubt continued to be inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, Little Lapin has persistently nurtured her own character of sound and songwriting; its current pinnacle and uniqueness coming within Wake Up With The Sun. From its first breath, the album smiles and kisses ears; opener and album title track stroking ears with the tender touch of acoustic guitar. That in turn sparks a skip of eager guitar and bass, their perky stroll wrapped in the warm caress of LL’s ever captivating voice.  A slice of pop folk, the song proceeds to radiate like its namesake; rays of energy and senses inciting warmth infusing body and spirit.

My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside.  An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.

Just as potent in its reluctance to leave ears and thoughts is the delicious animated serenade of Isn’t Life for Living, a blossom of beauty simultaneously sharing a smouldering flame and frisky waltz as it ignites feet and hips as easily as a lustful appetite for its virulent pop.  As throughout the album, there is a sixties/seventies scent, a whisper but giving the song another endearing hue to get hooked on as it sublimely captivates with its keen and poetic vivacity before latest single Narrabeen adds its own catchy enterprise and bold imagination to the release. With the haze of harmonica and a suggestive rumble interrupting its tenacious country spiced swing, the track is a sultry and dusty Kiwi hued adventure and, as its predecessor, just riveting.

Through the delicate melancholy lit Luna and the reflective hug of A Song for Alex, the album lures the listener deeper into its majestic yet intimate arms while Need a Change of Scene has the body on its feet again shuffling round with tenacious versatility to the song’s wonderfully unpredictable invention and evolving landscape. Like a mix of Laura Marling and Imelda May, LL has ears and imagination enslaved whilst revealing another aspect to the diversity shaping Wake Up With The Sun.

LL simply bewitches once more within Radio Nocebo, her tang lined voice an appetite inflaming siren and storyteller within the sparkle of hearty and innocence spun melodies. Captivation is swift and inescapable as the song provides another peak to the loft range of the album; its triumph followed by the final wash of warmth and melodic intimacy provided by closing song I Told You So. It is a last kiss on the lips of pleasure as Wake Up With The Sun leaves the listener wistfully bound in the hug of creative grace.

It is probably fair to say that Little Lapin has yet to ignite the biggest spotlights so far but it is easy to suspect that global attention will be stirred, as the sun, by her new and quite simply gorgeous album.

Wake Up With The Sun is released April 14th across most online stores.

http://www.littlelapinmusic.com/    https://www.facebook.com/littlelapin/    https://twitter.com/1littlelapin   https://littlelapin.bandcamp.com

Pete RingMaster 13/04/2017

Copyright RingMaster: MyFreeCopyright

Abel Raise The Cain – For Strangers Only

With a sound that wraps the senses like suggestive mist and a handful of songs taking the imagination on atmospheric, intimacy fuelled journeys, it is fair to say that the debut album from British rock band Abel Raise The Cain has been a highly anticipated proposition. Their fusion of evocative textures and energies within an indie pop/post rock nurtured landscape has made for an increasingly devoured and acclaimed live and recorded proposal, persuasion and success sure to be accelerated by For Strangers Only.

The album sweeps across the senses with a melodic breeze, each track an insight to emotion soaked lives and familiar situations. They swoop in on individual experiences, cinematic perceptions which if you put a series of kitchen sink dramas back to back would make the perfect soundtrack while stretching their intimacy to broader climes. Without a breath being taken, each song emerges from the last with just the whispers and glimpses of eclectic life between them, sometimes subtle reflections sometimes bold as “Dead Presidents, Revolutionary movement leaders and mixed up youth” bridge songs. It makes for a release which needs numerous plays to explore every alluring pasture and suggestive street corner but a simmering increasingly compelling blossoming which only brings increasingly striking rewards.

The 2012 formed, Northeast hailing Abel Raise The Cain draw on the inspirational sounds of bands like Arcade Fire, Sigur Ros, and The Editors for their adventures, open essences woven into their own canny tapestries. Both tracks of their debut double A-sided single, Too Late and The Promise, quickly drew eager praise and support including regular play on UK radio including BBC Introducing, the band continuing to lure plaudits and new ardour led fans with their successors; songs making powerfully persuasive teasers before For Strangers Only.

The album opens with Awakening, its orchestral welcome warm and descriptive as cinematic samples rise within its embrace. The short piece lives up to its name, opening the heart of the album with smouldering grace before freeing the equally seductive and euphoric flight of One Thing. With the romancing of Saerla Murphy’s violin cradling the engaging dusty tones of guitarist Sean Crichton as the keys of Gaz Murray float, the song is a vibrant outlook and stroll urged on by the tenacious beats of Adam Hicks.

Its anthemic and tenacious call is echoed within the following We’ll Never Know, the track swiftly revealing darker shadows around its radiant core. Within it, the bass of Gary Hughes manages to be simultaneously melancholic and flirtatiously welcoming as keys and strings come to a poetic boil in tandem with the melodic enterprise from Shaun Buckle’s guitar. The post rock climate of the song only grows across its length, consuming ears with wistful yet forceful intent before Black Swans bubbles to the surface. One of the singles sparking the eagerness awaiting For Strangers Only, the song brews its melancholy lined, heartbreak hued croon with craft and zeal, breaking into emotional crescendos as violin and keys respectively comfort and invigorate the spirit. Reminding a little of Doves, the song is superb, a cathartic release for band and listener alike.

The folkish air of Dark Side Of The Street keeps ears and imagination just as keenly hooked, the song a gentle but enthused canter sharing melodic and harmonic enterprise like sunshine. For some yet undefined reason, the song nudges thoughts of Pete Wylie before a country scented rural sigh slips into the similarly flavoured Million Dollar Night, a ruminative slice of balladry which may not quite light personal fires as other moments within the album but still leaves pleasure full, especially with an essence something akin to The Verve

Hideaway is a similar encounter with matching results; its country rock lilt and sultry smoulder a plaintive temptation breeding spirited expulsions across an expressive body. It also just misses persistently hitting the spot yet is one rousing experience impossible not to be drawn back to.

The album departs with the band’s new single, Every Rise. With hope falling from every note and harmony, the song is a thrilling end, a spirit igniting anthem of life with boisterous rhythms urging and melody rich flames licking at the imagination.

Each track is an individual exploration but For Strangers Only equally works like a symphony, each song a movement in its social and emotional tour. Certainly the first couple of listens are fine enjoyment but thereon in is where the magic happens.

For Strangers Only is released March 31st

http://www.abelraisethecain.com/    https://www.facebook.com/AbelRaiseTheCain    https://twitter.com/abelraise

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Chris Mullin – Myself Fooling Me

Better known as the bassist and co-songwriter of The Sums (ex-Smaller) and bassist for nineties band Hurricane #1 who have recently reformed, Chris Mullin is set to entice his own corner of attention with his debut solo EP, Myself Fooling Me. The Liverpool bred musician bares his creative and emotional heart with a six fingered handful of songs as distinct and different from his other endeavours as they are similar in the captivation of ears and imagination; simply a collection of tracks just demanding attention.

The first of a planned series of EPs exploring Mullin’s appetite for “more experimental styles of music”, Myself Fooling Me opens up with Hard Times. As keys stroke ears and thoughts, swiftly there is a Lennon-esque quality to the song and its lively grace, Mullin’s vocal expression a heart sharing proposal accentuated by the spring of strings rising over and caressing a quickly awoken appetite for the song’s melodic suggestiveness. Catchy with increasing warm hope lining its initial melancholic tinge, the song is a captivating start to the release and introduction to Mullin’s personal creative character.

Lost At Sea follows, acoustic guitar stroking ears as Mullin’s again vocally shares his reflections being subsequently surrounded by simmering and increasingly bold flames of strings courted by celestial keys. The song laps at the senses, suggestive light shimmering on its surface before the darker hues of Colour Of Pain compellingly slip through ears. With a bluesy edge to its melodic lure and shadow hugged emotion, the outstanding track is a haunted bewitchment, melancholy and sorrow its engaging suit as Mullins reveals yet another side to his ever broadening solo journey.

From the rousing beauty of a song shouting single, Mullins shows a folkish flare with No More; a gentle melody seducing act of defiance which just grows more infectious with every passing note and word while Who Took The Beat? shows another hue to the same instinctive intent with darker emotional shadows at work. Blossoming in texture and flavour with every move, a sixties musical air from his home city as well as broader cosmopolitan scents seeping from its body, the song is one evocative serenade.

The EP closes with its title track; a song written over 20 years ago and revived after a one on one jamming session with Paul McCartney a few years back. Featuring ex-band mate, Bren Moore (Smaller/The Sums/Ella Guru) and the backing vocals of Fiona Holt O’Sullivan, Myself Fooling Me is a melody woven glide into the imagination with lyrical and vocal expression as provocative and honest as the boisterous sounds around them.

With every listen the Myself Fooling Me EP offers a richer seduction whilst sharing further depth to songwriting already part of some memorable moments with The Sums. Mullin’s solo exploration is a very different proposal to his ‘day job’, but something fans of the band and melody honed music as a whole will enthusiastically embrace.

Myself Fooling Me is available now via Nowhere Music through all major download retailers and @ https://chrismullin.bandcamp.com/releases

http://chrismullin.net/   https://www.facebook.com/chrismully   https://twitter.com/chrismullin74

Pete RingMaster 29/03/2017

Copyright RingMaster: MyFreeCopyright

Billy Bibby & The Wry Smiles – Always Something

Pic credit Martin Singleton

A year after the release of their acclaimed debut EP, Bide Your Time, UK quartet Billy Bibby & The Wry Smiles have a new single to tempt similar reactions. Always Something is a peach of a song, melodic rock swiftly engaging ears and inciting the body while revealing a fresh step of invention and adventure in writing and sound.

The band is the project of singer/songwriter Billy Bibby, founding and former member of Catfish and the Bottlemen whose debut album, The Balcony, achieved Platinum status last year. Leaving the band after seven years in 2014, he spent the following year writing and undertaking a solo acoustic tour before recruiting a full band with the help of Simon Jones, bassist for The Verve. Their first single, Waitin’ for You, grabbed potent attention before Bide Your Time made a striking impression at the beginning of last year. 2016 saw the outfit busy with their live endeavours taking in over 70 shows and festival appearances around the UK. This year looks like following suit, getting off to a potent start with the release of Always Something.

 The single immediately consumes ears with its tide of rousing rhythms and riffs entangled in melodic flames. It soon settles into a more controlled but still eager stroll as the guitars of Rob Jones and Bibby dance around the latter’s warm and inviting vocals. With the infectious beats of Mike Pearce colluding with the pulsing throb of Matt Bassy’s bass, the song easily has hips and appetite enticed by its infectious rock ‘n’ roll.

A smart and fluid variety in energy and imagination only adds to the persuasive prowess of the song, as too sultry keys flirting from the background as Bibby’s voice draws it all into making one captivating proposal through the guidance of his songwriting and inviting voice.

Always Something maybe not be breaking new ground but it is a new striking step in the Billy Bibby & The Wry Smiles sound and a thoroughly enjoyable four minutes; a winner in our book.

Always Something is set to be released March 31st

Upcoming live Dates:

MARCH

18th – Adam Smith Theatre – Kirkcaldy

19th – Nice n Sleazy – Glasgow

25th – The Rocking Chair – Sheffield

31st – The Assembly, London

April

6th – The Magnet, Liverpool

14th – The Lincoln Imp, Scunthorpe

15th – Fleecetonbury Fest – North Allerton

MAY

6th – Sound Control, Manchester

10th – The Horn – St Albans

12th – Focus Wales Festival

17th – Portland Arms, Cambridge

http://www.billybibby.com/   https://www.facebook.com/billybibs20   https://twitter.com/billybibs20

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

Jingo – Make Some Money, Buy Some Love

jingo_RingMasterReview

March 11th sees the eagerly anticipated second album from British rock band Jingo and it is very easy to say that it does not let expectations, bred from the band’s previous impressive releases, down. The ten tracks making up Make Some Money, Buy Some Love are the band’s most eclectic bunch yet, at times in an understated way with closer attention revealing the new myriad of flavours and broad imagination bringing them to life. Just as importantly, it is another mesmerising collection of songs feeding in us and their growing wealth of fans an already eager appetite for the band’s invention and carrying the potential to excite another hungry wave of newcomers to the world of Jingo.

Formed by husband and wife, guitarist/vocalist Jack and vocalist/keyboardist/guitarist Katie Buckett, Jingo seem to have made a strong impact with every move since Jingo played its debut live show was supporting Blur’s Graham Coxon. Through a clutch of captivating singles, creatively provocative EPs, and striking debut album The Art Of Loving of 2014, as well as a live presence seeing the London based band take their imagination and craft across the UK and over to the US, France, Germany, and Belgium, Jingo has enticed rich interest and fan support which has through a highly successful pre-order campaign enabled the band to release Make Some Money, Buy Some Love on CD and vinyl as well as digitally.

With its line-up completed by the invention of Nima Safai, Michael Hussain, and Kelly Lenahan, Jingo has from day one never been easy to pigeonhole. They are generally tagged as alternative rock and have found themselves compared to the varied likes of Portishead, The Magic Numbers, Not Blood Paint, Fleetwood Mac, Interpol, and Jess & the Ancient Ones along the way. As Make Some Money, Buy Some Love again proves Jingo spins broad tapestries which explore diversity with zeal to match their eagerly creative imagination.

art_RingMasterReviewRecorded in New York with producer Kahan James, and mastered by Kevin Blackler (Raconteurs, RHCP etc.), Make Some Money, Buy Some Love opens up with Lifer, the alluring tones of Katie cradled by melodic coaxing as the bass strolls with a controlled but carefree grace. Crisp beats add to the enticement instantly flirting with ears, the song’s underlying funkiness infesting its gait and the listener as pop catchiness and lyrical romancing tempt. Drama is never far from a Jingo twist and turn, its boldest attraction lining Katie’s vocal prowess especially here in a gem of an introduction.

All of the track’s qualities and more emerge in the following Sirens and Vices, Its rhythmic bait quickly infecting feet as melody woven grooves seize hips. Both elements add to the flirtatious nature of the song, impassioned vocals and raw, fiery textures growing in the blend of smouldering and raucous seduction. Grabbing ears and imagination from the first second, it only tightens its grip second by second squeezing lustful responses out before making way for the pop revelry of Money. It is instinctive catchiness with a steely backbone and bold attitude though, dancing persistently and mischievously as the song teases with playful coquetry.

From a busy bedlam Gaia emerges with its own melodic grace and emotive eloquence next, Katie joined by the equally potent tones of Jack as keys and guitars paint their own poetic picture over a more forceful rhythmic spine. It is pure magnetism with a just unveiled eye catching video to match.

Never Love Again also has little trouble winning attention and pleasure as its evocative melodies and warmly invasive essences hug captivating vocals. The song never quite reaches the heights of its predecessors but never lacks a second of enjoyable adventure before the outstanding Death Counts takes over. The track is nothing less than melancholic beauty becoming more exotic, almost sinister, and relentlessly beguiling with each passing seduction of passion fuelled notes and vocal fascination.

The body is back jumping around with Let’s Be Friends next; its noir lit drama and tenacious rhythmic dexterity enough alone to enslave the imagination. Katie is like a devious puppeteer in the midst of the brew of fire bred grooves, agitated beats, and frequently concussive energy; her lures as inescapable as the gloriously tempestuous textures making up another mighty highlight within Make Some Money, Buy Some Love.

Last year’s sensational single Sweet Anne follows, Katie and Jack united in crooning temptation as initially the song gently grows in ears. Soon it is in full swing with boisterous rhythms skirting the tangy funk infused hooks and lecherous grooves uniting and barging against each other. It too has an irresistible tempest like texture to its body but equally melodic calm makes a compelling persuasion in between the song’s moments of vociferous and explosive carnival like devilry.

The album is completed by firstly the melodic romance and harmonic charm of Supersymmetry, one simply bewitching encounter with fire in its heart and finally by the pop rock seducing of The Shell. Both tracks solicit emotions and body to get involved in quick time and each leave only a want for more, the perpetual hunger which seems to come with every Jingo encounter.

For Make Some Money, Buy Some Love, Jingo has honed their sound into something as diverse and bold as ever but exploring both with a more seamlessly and easily flowing touch; the result being another Jingo moment which makes the world a better place.

Make Some Money, Buy Some Love is released March 11th

http://jingomusic.com/   https://www.facebook.com/jingomusic/   https://twitter.com/JingoMusic

Pete RingMaster 22/02/2017

Copyright RingMaster: MyFreeCopyright